Sunday, January 12, 2014

I had this idea that I wasn't going to do the R.I.P. thing anymore. The internet is taking care of it already -- do I have to chime in? Of course I too want all these great artists who are leaving their body week after week to rest in peace, and/or in power, and/or attain a new plane of transcendent existence, but I don't want my twitter and/or my blog to be 80 percent RIP notices. I mean, let's face it, as far as the 1960s counterculture is concerned, we are entering the kind of period that scientists coldly call an "extinction event or biotic crisis." Sometimes I feel like the job is to share the work of these great artists, both alive and deceased, every day except on the day they pass on.

I have to say something about the passing of Amiri Baraka, because as a poet he was simply one of the boldest and most uncompromising artists of the 20th Century. He was also a brilliant essayist/thinker/historian, even when polemical, and his books Blues People and Black Music were completely foundational for understanding how deeply the music I love was forged by the transatlantic African diaspora. His work was fundamental to the free jazz & fire music movements of the 1960s, through journalistic coverage (as collected in Black Music) and also through performance. He said that "Poetry is music and nothing but music. Words with musical emphasis," and when he read his fire music poems, with or without additional musical accompaniment, who knows what unknown tongues were unlocked in his listening contemporaries.

Here's two posts where his name shows up if you do a search on this here blog, including some writing about one of his most powerful recordings ever, "Black Art" with Sunny Murray and Albert Ayler. By the way, I humbly think these are two really good posts of music writing, not just for the Baraka content ... I know people are always saying "Blastitude doesn't review records anymore, blah blah blah," but I do occasionally if you pay attention, and why would I write twenty-seven lukewarm reviews of all the latest underground flash-in-the-pan oversaturation bands when I could be writing shit like this instead? Sorry, end of mini-rant.

Saturday, January 04, 2014

2. Circuit Des Yeux "Lithonia" This is probably my favorite new song I heard in 2013. It's completely incredible. I'm gonna be 'that guy' and say I prefer this more raw version, recorded at Magnetic South in Bloomington, IN and released on 10", to the re-recorded version with strings that leads off her great newest album Overdue. Both are superb though.

3. Velvet Underground "Sweet Sister Ray" Recently purchased the newish re-boot of the Sweet Sister Ray 2LP. The first record is a single performance of "Sweet Sister Ray" split over two sides, and I haven't even made it to the second record yet. Just been flipping "Sweet Sister Ray" over and over again. It's almost all the music I need in the world, and when I'm not simply blissed out, I'm fascinated by the difference between Lou Reed and Sterling Morrison's guitar styles.

4. Anonymous "Sweet Lilac" Completely haunted by this one. How could I not be with these melting heavy folk-rock song structures, stunning electric/acoustic guitar work, and a love-song hook that goes "You teach me/You're a school"?

5. Rake Kash "Foreign Lands" This swooning red-wine-infused piece of home-recorded deep romantic psych isn't on YouTube. To hear it you have to buy this record. In the meantime here's another Rake Kash number that is on YouTube.

EDIT: "Foreign Lands" now on YouTube!

6. Charalambides "Namaste"Market Square was the first Charalambides album I ever bought, back in 1996, and even though I haven't listened to it in a good 10 years I just put it on and realized it's still my favorite of theirs.